Nedra is a social marketing consultant, author and speaker who works with nonprofits and government agencies for positive health and social change using social media, transmedia storytelling and entertainment education approaches at Weinreich Communications.Email me
The CDC analyzed U.S. health survey data in 1999. Researchers concluded that of the 38 million Americans who regularly watch daytime soap operas, almost half said they learned something about diseases and how to prevent them. Even better, about a third of viewers said they took some action based on what they saw on a soap opera, including 7% who visited a doctor and 6% who did something to prevent a health problem.Getting your issue on TV is not as simple as sending a fact sheet to the producer of a show. People who are working in this field have developed relationships over time with writers, researchers, producers and others in the entertainment industry. They are trusted not to push an agenda or a specific plotline, but to provide accurate facts and ideas that writers can then weave into their storytelling.
A year later, the CDC looked at prime-time television. It found that of Americans who tuned in twice a week or more, 52% said they trusted the health information they see to be accurate, and 26% said that prime-time TV was among their top three sources for health information.
Now there is a growing industry in Hollywood made up of advocates who are neither entertainers nor insiders, but who want their disease or issue to get dramatic play before a mass audience. Similar to product placement, it's a kind of ideas placement. A group called the Entertainment Professionals Resource Assn. pulls dozens of these groups together, including the American Cancer Society, Down Syndrome in Arts and Media, the American Heart Assn. and the Mental Health Media Partnership.So the next time you see Jack Bauer get into his Ford Expedition on 24, you'll probably also see him put on his seatbelt, thanks to the work of health advocates and their receptive Hollywood audience.
"We're trying to shift the norm," says Deborah Glik, director of the UCLA Health and Media Research Group, who is affiliated with the entertainment group. "When you're going to portray a health issue anyway, and you're working with a platform that reaches millions of people, you should do it accurately."
Members make themselves available with scientific facts and a bank of real citizens willing to tell their stories. They carefully push their causes, knowing they walk a delicate line between sparking creativity and triggering annoyance.
David Sampson, director of media relations at the American Cancer Society, has learned that it's better if his organization stays away from pitching specific plots. Policy wonks, it turns out, aren't so good at recognizing the germ of a compelling story line. "Writers come to us," he says, "and almost invariably, they'll pick up on some bit of information that we had no intention of relaying."
But the society doesn't hesitate to advise, when asked. When Alexis on the soap opera "General Hospital" was diagnosed with lung cancer despite being a nonsmoker, Sampson heard that writers wanted to attribute her disease to asbestos exposure. "About 4,000 non-smokers a year come down with lung cancer," he says. "But short of working in a mine, you only get lung cancer from asbestos exposure if you're also a smoker." Exposure to second-hand smoke, the society suggested, was a far better explanation.
The idea is to present entertainment insiders with powerful real stories, inundate them with facts, and then sit back and hope the creative juices take over. "I believe the writer is king or queen," says Lisa Allen, director of the Media Project, which provides entertainment industry professionals with information on reproductive issues. "We don't preach, we don't proselytize."
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